LRB's 2007 line-up still satisfies

Wayne Nelson of LRB

By STEVE SEYMOUR

Playing impeccable versions of a dozen hit songs from the group's heyday, the 2007 version of the Little River Band (LRB) appeared at the Island Resort and Casino showroom on Friday, Sept. 20.

While the band enjoyed its greatest popularity from 1977 to 1983, it has continued to be active, playing about 100 dates each year.

Wasting no subtlety on the audience, the band launched the evening's program with "Reminiscing," their biggest hit. No less than John Lennon admitted to liking the song which reached No. 3 on the charts in the summer of 1978 thanks in part to heavy play on FM radio.

Vocal duties were handled by Wayne Nelson as they have been since 1999, although the singer joined LRB in 1980 as bassist. The rest of the current band includes guitarist Greg Hind, who joined in 2000; keyboardist Chris Marion, who was added in 2004; and new drummer Melvin Watts. Signing up with the band last year was lead guitarist Rich Herring. He replaced Stephen Housden, owner of the Little River Band name, who decided not to participate in the current tour.

After "Reminiscing," the band delivered note perfect renditions of "Man on Your Mind," "Happy Anniversary" and "Take It Easy on Me," all featuring Nelson, who used his fine rock voice with confidence throughout the show.

Next up, Hind took a turn at the microphone with "The Other Guy," which was given a bluesy arrangement, quite different from the 1983 original. LRB's first American hit, "It's a Long Way There," complete with a funky guitar solo, followed.

An obscure "Forever Blue," a hit in Holland in 1996, was a surprise for fans.

A trio of Top Ten tunes drove home the striking number of hits attributed to LRB, with the veteran Nelson commanding the audience's attention from center stage. "The Night Owls," closely recalled Nelson's vocals on the original recording, while some fans stood during "Cool Change" which included an appealing keyboard intro courtesy of Marion. With an extended version of "Lonesome Loser," the band earned a standing ovation and left the stage.

An encore was demanded by the audience, of course, but when the band returned the house lights were turned on when Nelson explained he needed a few pictures of the crowd to post on the band's website.

The singer then invited eager audience members to dance in front of the stage as the band played "Drift Away." With Nelson telling the crowd, "This is the best Friday night I can remember in a long time," the band concluded with a meticulous version of 1979's "Lady."

Always known for immaculate live shows, the LRB line-up which played at Harris last weekend offered flawless timing and technique, including inspired guitar solos from Hind and Herring.

The original group, formed in 1975, included key members Beeb Birtles, Glenn Shorrock and Graeham Goble, three talented singers and songwriters who wrote most of their hits.

Conflicts over touring, musical direction, and the pressures of success took their toll as the years passed. Shorrock, the lead singer, was forced out of the band in 1982, replaced by John Farnham. Birtles left the following year while Goble did the same in 1990. In turn, Farnham left in 1986, only to be replaced by Shorrock.

In fact, there have been numerous personnel changes during the band's existence. Including current members, the Little River Band has had four lead vocalists, five lead guitarists, five guitarists, five bassists, seven drummers and seven keyboardists.

Various legal battles also caused clashes among band members. By 1997, when 15-year-veteran guitarist Stephen Housden remained as the lone member of LRB, band assets, including the name and logo, were transferred to his control in what some interested parties called a legal blunder.

While founding members Birtles, Shorrock and Goble have performed together under their own names in Australia, Housden's Little River Band continues to stake out musical territory in the United States during annual tours.

Thus, the story continues, 32 years on.

Protest songs had local impact

Country Joe

By STEVE SEYMOUR

When protests against the Vietnam War grew into a national moratorium in the fall of 1969, the young people of Escanaba were involved, just like virtually every other community in the country.

Opinions about the war, which had taken the lives of 39,969 American soldiers by mid-October, had been galvanized by a hotly political climate.

A few years earlier, recordings like "Ballad of the Green Berets" by Staff Sgt. Barry Sadler and "Gallant Men" by U. S. Sen. Everett Dirksen, reflected public opinion. By 1969 however, with casualties mounting, John Lennon's "Give Peace a Chance," the Doors' "Unknown Soldier, "Feel Like I'm Fixin' to Die Rag (Next Stop Vietnam)" by Country Joe and the Fish and "Sky Pilot" by the Animals were increasingly being heard.

On Wednesday, Oct. 15, many of the students at Bay de Noc Community College, then located on Escanaba's south side, wore black armbands to signify their opposition to the war and pay tribute to those Americans killed in Vietnam.

The college administration was well aware of the national march on Washington that day and scheduled an informational symposium that evening possibly to channel student enthusiasm away from any spontaneous demonstrations which might embarrass local officials.

More than 200 people attended the event, held at the student center, where college president Dr. Richard Rinehart hosted discussion concerning the political and moral complexities of the war. Political science instructor Paul Opferkuch presented the historical background of U. S. involvement. Other speakers included diplomat George St. Louis, instructors Al Howard and Michael Youngs, as well as students Bob Erickson and Tim Brostrom.

The meeting lasted until 11 p. m. It's anybody's guess if the symposium changed anybody's mind about the Vietnam War.

But, after the meeting a large group of students marched down south 12th Street toward downtown singing protest songs. "All we are saying is give peace a chance," the group intoned. I don't think anyone knew more than the chorus of the anti-war anthem which had been a hit just a few months before.

As I recall, a few Country Joe fans attempted the "Feel Like I'm Fixin' to Die Rag," which included the line "And it's one, two, three, what are we fighting for? Don't ask me; I don't give a damn. Next stop is Vietnam."

The biggest rally in the state took place at Michigan Stadium in Ann Arbor where 22,000 people gathered to hear U. S. Sen. Philip Hart, D-Michigan, speak against the war along with Tom Hayden, who founded Students for a Democratic Society (SDS) in Port Huron.

Nationally, about two million people participated in the moratorium which was conceived by a 26-year-old named Sam Brown. About 100,000 attended an anti-war speech in Boston by U. S. Sen. George McGovern.

While various moratorium events where held across the U. P., the small community of Ontonagon was quiet. Many of the county's 10,584 residents continued to support the Nixon administration's policies in Vietnam even though the area had suffered eight fatalities in southeast Asia, a higher percentage than any county in the country.

A second moratorium was held in November. At a rally in Washington, D. C., folk singer Pete Seeger led 500,000 people through a version of "Give Peace a Chance."

At this time Creedence Clearwater Revival released "Fortunate Son," a number 14 hit. With the line "And when they play hail to the chief, ooh, they point the cannon at you," the song become a favorite of war protesters and veterans alike.

A few months later, "War" by Edwin Starr was the most popular song in the country for three weeks. The track struck the national consciousness with its simple lyrics: "War, what is it good for? Absolutely nothing."

One of the most enduring songs of this genre, however, may be "Eve of Destruction" by Barry McGuire. Talking about the eastern world exploding, bodies floating in the Jordan River, and the possibility of nuclear holocaust, the lyrics are as relevant today as they were in 1965.

Despite the demonstrations of 1969 and despite the protest songs, the Vietnam War didn't end for six more years.

Nugent's career earns attention

Ted Nugent

By STEVE SEYMOUR

The first time Ted Nugent caught my attention was the summer of 1968 when his band, the Amboy Dukes, issued their psychedelic masterpiece "Journey to the Center of the Mind."

That song leaped from your car radio like nothing else. Detroit-born Nugent wrote the tune with fellow guitarist Steve Farmer, while John Drake sang lead vocals. "Journey to the Center of the Mind," became the first and only hit for the Amboy Dukes, just missing the national top ten.

But, as follow-up hits failed to materialize, original members left and were replaced until only Nugent remained. He finally disbanded the Amboy Dukes in 1975, launching a solo career.

Recording on his own, Nugent's ferocious guitar-attack met with massive success in the last half of the 70s and he racked- up such hits as "Cat Scratch Fever" and "Stranglehold."

Having toured all summer, Nugent, amazingly, is approaching his 6000th live concert. Performing professionally since he was a pre-teen, the young Nugent had to bring his mother along in order to play at the fabled Grande Ballroom in Detroit, according to a story told to me by owner Russ Gibb.

Although Nugent experienced career ups and downs, he has always held his fans, especially those in the U. P., in high regard. In the spring of 1989, my wife Sue and I asked "Uncle Ted" for his autograph to add to the rock 'n' roll memorabilia collection displayed in our store. He responded with a note and a collection of three color photographs which he had signed.

"Give my best to all those rockers in the U. P. I dig 'em," Nugent wrote on his personal camouflaged stationery. He included a picture of himself on stage, another with a gigantic black bear he had felled with a bow, and a third showing himself surrounded by dozens of guitars. We later acquired a signed arrow which seemed to complete the collection.

Shortly after autographing those photos, Nugent enjoyed some of his greatest success as a member of the superstar rock group Damn Yankees. Besides Nugent, the group consisted of bassist Jack Blades of Night Ranger, guitarist Tommy Shaw of Styx and drummer Michael Caretellone. The band received subtantial radio play with "Coming of Age" in the spring of 1990 and hit again with the No. 3 smash "High Enough" later in the year.

Nugent has visited the U. P. many times on hunting expeditions. He even contributed a hard-rocking track called "Comin' Down Hard" to the soundtrack of "Escanaba in Da Moonlight," the deer hunting comedy written by Hollywood big-shot and Michigan-native Jeff Daniels.

In fact, Nugent's presence north of the Mackinac Bridge is so formidable that many Yoopers earnestly claim that the 58-year-old rocker actually owns property near their own camps. A local rumor even suggested Nugent had purchased the Mead Lodge on the Escanaba River. But such was not the case. "I would like to clarify the fact I don't actually own land in the Upper Peninsula," Nugent told the Upper Michigan Outdoor Journal.

The Motor City Madman loves northern Michigan and has proved it by performing here many times. He has appeared at Chip-In's Island Resort and Casino in Harris and the Upper Peninsula State Fair in Escanaba where he played on Wednesday, Aug. 17, 2005. On stage, he performed many of his hits including the magnificent "Fred Bear," his pean to hunting and the favorite tune of more than a few Yoopers.

The world of politics, meanwhile, is never far from Nugent's mind. A director of the National Rifle Association, he is pro-gun and anti-drug, if you weren't aware. Well-known as an outdoorsman, Nugent visited Escanaba again on July 31, 2006 during a campaign stop by unsuccessful Republican U. S. Senate candidate Michael Bouchard. Nugent fans shouldn't be surprised if their outspoken hero makes a run for governor in the next few years.

Always active, Nugent recorded his new 13-track album, "Love Grenade," at Jack Blades' Paradise studio in Santa Rosa, CA., in May. Blades co-produced the disc, and added bass to three tracks. He also contributed background vocals along with fellow Damn Yankee Tommy Shaw.

The project shines from start to finish, with plenty of Nugent's trademark guitar fireworks throughout. Midway through the set Nugent revisits "Journey to the Center of the Mind," the track that launched his career. The new version is just as addictive as the original, complete with Nugent's unforgettable swirling Gibson guitar solo. This time Nugent takes the lead vocal role. Although he does a credible job, long-time fans many wonder how Derek St. Holmes, the Nuge's former vocalist, would have handled it.

With the release of a great new album this month, Nugent has caught my attention yet again.

Lark Brothers kick-off Blues Fest

Westside Andy

By STEVE SEYMOUR

Delta County's Lark Brothers kicked off the 4th annual Marquette Area Blues Fest Sept. 1, in what turned out to be the biggest day in the event's history.

Festival goers arrived early at Mattson Lower Harbor Park to witness a rare performance by Dave, Bill and Sam Lark, augmented by drummer Rich White, keyboardist Mark Peterson and harp player Dean Peterson.

The veteran group, which includes former members of the Blues Weasels, fired up the crowd with original material such as "Tangerine" and "Look Before You Leap" as well as traditional numbers like "Sweet Home Chicago" and "Walking the Dog," showcasing Peterson's considerable harmonica skills.

In fact, the harmonica, or harp as it's known in the blues world, played a significant role in most of the acts hitting the stage on Saturday, including Fast Eddie's Blues Band, which followed the Larks.

Veteran Marquette musician Fast Eddie Consolmagno, playing both harp and slide guitar, delivered an inspiring set with the guitarist known simply as "Crabbe" adding Chicago-style lead fret work. "Rocket 88" and "Crosscut Saw" paced the band's set which ended with the cover of a Rory Gallagher gem, "Ghost Blues."

Peter "Madcat" Ruth took the harmonica theme down a more traditional path when he appeared on stage with partner Shari Kane. Madcat's impressive harp work has been evolving since he studied with Big Walter Horton in the late 60s. The duo worked through a set of old-time blues standards by the likes of Robert Johnson, Charlie Patton, Kokomo Arnold, Bukka White and Big Bill Broonzy. Kane cleverly changed the gender in Willie Dixon's "Hoochie Coochie Man," making the song her own while also sounding striking on steel guitar.

Mel Ford

Westside Andy and the Mel Ford Band, hailing from Madison, followed with a set of distinctive, mostly original material. Ford's tasty guitar work blended perfectly with the blues harp style Westside Andy Linderman brought to songs such as "Nervous Fella," "Alley Cat" and "Call it Love." Hard-working keyboardist Jimmy Voegeli, playing his heart out on "Party Girl" added to the excitement. Linderman, with a portable microphone, wandered through the crowd, even posing for pictures, all the while continuing to blow his harp. Ford, not to be outdone, played his guitar behind his back, Jimi Hendrix style.

Although the sun was setting as Saturday headliner Tinsley Ellis took the stage, his set offered plenty of heat. "It's great to play in the U. P. for the very first time," the Atlanta native told the crowd between mesmerising guitar solos.

Ellis, who commanded the stage at once, played numerous songs from his last two compact discs, with bass added by a player known as The Evil One. Tracks like "A Quitter Never Wins," "Tell the Truth," "Get to the Bottom," "To the Devil for a Dime," and "The Last Song" demonstrated his world-class guitar prowess. An encore of "Double Eyed Whammy" ended the evening.

My wife Sue and I were back with our lawn chairs near the stage early Sunday afternoon for the Flat Broke Blues Review, as orchestrated by bass player Mark Johnson.

"I Got My Mojo Working," started a segment with Doc Woodward on Hammond B-3, guitarist Mike Letts and a young blues combo known as VooDoo Brew. That was followed by a Flat Broke Blues Band set, opening with a cover of the Janiva Magness song "Every Night," and continuing with guitarist Walt Lindala's version of "Big Legged Women." After vocalist Lorrie Hayes completed an effective version of "Lies," the Million Dollar Horns were brought on stage to complement a rousing rendition of Bobby Bland's "Twenty Room House."

The enlarged band powered through "Consequences," "Rock This House" and "Turn Back the Hands of Time." With all 11 musicians on stage, the Flat Broke Broke Blues Review finished with "Flip, Flop and Fly."

Rusty Wright

Next, fans of contemporary blues with a touch of southern rock were treated to a strong performance by Rusty Wright Blues, a combo based in Flint. Wright tore through a set of original material including "I Ain't From Mississippi," "The Fool Will Do," "Feel Good Blues" and "Ain't No Good Life," with the crowd falling in love with Wright's vivid guitar technique. Not to be categorized, the band also performed a touching rendition of the Gershwin classic "Summertime" with Wright's wife Laurie taking lead vocals.

The six-piece Big James and the Chicago Playboys brought their horn-driven, soul and funk flavored blues to the stage next. With trombonist Big James Montgomery handling vocals, this choreographed outfit was at its best on original material such as "Thank God I Got the Blues," "The Blues Will Never Die," and "Don't Take Your Coat Off." Obviously having fun on stage, the band played bits of "Smoke on the Water," "Wipe Out" and "Pink Panther Theme" just to make sure the audience was
paying attention. It was.

Sunday's headliner was veteran rhythm and blues singer Bettye LaVette, who despite her 46-year career, has just started being recognized for her obvious abilities. "Rumors of my demise have been greatly circulated. I am back," LaVette announced to the crowd. Dressed in black, LaVette danced about the stage singing tracks from her award-winning album, "I've Got My Own Hell to Raise."

Backed by a four-piece band, the 61-year-old Muskegon native gave a dynamic performance which included "I Do Not Want What I Haven't Got," "Joy," Dolly Parton's "Little Sparrow," and "How Am I Different." In an intimate moment with the audience, she sang a poignant rendition of John Prine's "Souvenirs" while sitting cross-legged at the edge of the stage.

LaVette's set closed the festival before 10 p. m.

The good times continued with an official post party at the Skyboxx in downtown Marquette where many of the festival's performers gathered to jam into the wee hours. Some of the weekend's most inspired improvisational playing took place there. But that's my little secret.

Marquette area Blues Festival 2007 picture gallery
by Sue Seymour


Tinsley Ellis


Lorrie & Walt from Flat Broke Blues Band


Big James from the Chicago Playboys


Betty Lavette


Dave Lark


Fast Eddie


Madcat Ruth


Shari Kane


Blues fans Mike & Michelle Miller of Escanaba